Reviews (16)

One of Sturges's greatest comedies
This is an absolutely stunning comedy, with one comic shock and delight after another, and hilarious performances by a bevy of some of the best character actors in the history of Hollywood.

Highpoints include a trip on the railroad with the Ale and Quail Club; an introduction to The Weenie King, on of the funniest characters I know of in any film; Rudy Valee's unexpectedly delightful portrayal of a Rockefeller-like multi-millionaire; Mary Astor's excellent performance as Rudy Valee's sister; and a gentleman of unspecified ethnic origin known simply as "Toto."

The opening credits of the movie are among the most fascinating of the thirties or forties. While the credits are running, we see onscreen an entire prequel somehow involving two sets of identical twins (one set played by Joel McCrea and the other by Claudette Colbert).

Preston Sturges is not the best director the United States has ever produced, but he unquestionably enjoyed the finest five year period of any director we have ever seen. From 1940 until 1945, Preston Sturges enjoyed a run of amazingly crafted comedy masterpieces that by themselves place him on any list of the essential directors. In the late 1930s, Sturges built a name for himself by penning a number of first rate comedy scripts, including the classic EASY LIVING as well as REMEMBER THE NIGHT. Paramount gave him a shot at directing, and he responded with films like THE GREAT McGINTY, CHRISTMAS IN JULY, the great THE LADY EVE, SULLIVAN'S TRAVELS, THE PALM BEACH STORY, THE MIRACLE OF MORGAN'S CREEK, and HAIL THE CONQUERING HERO. But then, suddenly and without warning, his genius deserted him.

But this is one of the best of his best. Just sit back, get yourself pleasant to drink, and have a good time.

1942 STURGES CLASSIC
Preston Sturges, as a director, had a strong fancy for trains. In SULLIVAN'S TRAVELS, he had a great railroad yard sequence in which an old tramp was killed by a streamliner, and later Joel McCrea and Veronica Lake spent much time in freightcars. Here, Sturges again picked out a railroad car - a private Pullman to Florida - for a wild and slapstick farce. Claudette Colbert, fleeing from her husband in New York, finds herself in Pennsylvania Station without a cent. Here she is taken in tow by the millionaire members of the Ale & Quail Club - who are going south for their annual shoot-'em up and drink-em'-down vacation. What happens on the train is one of the funniest scenes in vintage comedy. Rudy Vallee plays the world's richest man who believes that it's un-American to give more than a 10-cent tip; he was praised by the critics for this performance because he showed he could do more than croon the Maine STEIN SONG, and act ineptly as he did in his early talkies. As John D. Hackensacker III, Vallee (playing straight comedy) rescues Claudette from the pyrotechnics of the Ale & Quail Club and takes her to Palm Beach on his yacht. Mary Astor and Joel McCrea also serve this classic film well.

Buy This Film!
This is a classy, sexy, side-splitting comedy. So why is it not out on DVD?!
Buy it, Please! Maybe if enough copies are sold someone will release this gem on DVD.
Criterion, are you listening?

Is that McGloo or McGrew?--Preston Sturges forever!
THE first Hollywood auteur--i.e., writer-director--Preston Sturges here gives us one of his all-time classics that, for my money, is better than Sullivan's Travels and easily the equal of The Lady Eve. It's pretty amazing to see not one but TWO smart, sophisticated women on the make--Claudette Colbert as a wife fed up with her husband's penury, and Mary Astor as the sister of the goofy millionaire Colbert meets and is, you should pardon the expression, wooed by.

Rudy Vallee, as the mllionaire, also has his not-as-wealthy doppelganger in Joel McCrea, Colbert's somewhat bumbling designer husband who's trying to get a $99,000 project off the ground (actually, onto the ground--it's a huge, ridiculous metal-net for airplanes to land on). Just as both women have tongues sharper than stainless steel razors honed with eager whetstones, so too do both men have brains that can't quite follow the women's spitfire patter and instead of paying close attention, resort to what Sturges' men usually do--follow instead their male instincts, which means say what they gotta say and do what they gotta do.

Sturges' forte is the uncanny ability to juxtapose selfishness with so much whimsy and foible-ridden thinking it's impossible not to laugh. Women are selfish in one way, men in another. But both of them ARE selfish, and therein lies the rub (as it were)--that is, the famous battle of the sexes. Colbert (Gerry Jeffers) wants a divorce from McCrea (Tom Jeffers) because of his inability to bring in the bacon and doesn't mind it at all when millionaire Vallee (John Hackensacker--gee, I wonder where that name came from...) buys her all kinds of clothes and stuff.

Obviously one of the major inspirations for, among many others, the Coen brothers (e.g., The Hudsucker Proxy), Sturges was a genius for his time, so far ahead of anybody else it boggles the mind. Listen to Colbert deliver a jaw-dropping speech on sex--meaning, not the physical act, but the power of a woman to divert a man. The use of the word "sex" to mean that--in fact, the use of the word itself--was without question a milestone (or is that millstone) for 1942, the year of this film.

Gerry calls Tom Captain McGloo when she's introducing him to Hackensacker to assure the latter that Tom is not really her husband at all but her brother. Mr. H. introduces Tom to her sister Centimilia (Mary Astor) so the foursome--a real brother and sister, and a fake duo of the same "persuasion"--gaily tramp off together to the nearest hotel.

The amazing scene on the train with the Ale and Quail Club has be seen to be believed, again so far ahead of its time it's almsot a shock.

How to fuse satire, wit, and superior intelligence in a single film? Preston Sturges FOREVER!

Preston Sturges Screwball Classic Delight
Rarely have I enjoyed a screw ball comedy more than Preston Sturges's classic look at the lives of the idle rich and those that aspire to be that way in 1942's "The Palm Beach Story". Taking over the reins as both writer and director here Sturges has produced a gem which came hot on the heels of his classic "The Lady Eve" of the previous year.

This gem of a feature boasts total excellence in all areas, sparkling performances from a top notch cast, superb writing, delicious one liners delivered with relish, rapid fire direction and a beautiful overall look to the proceedings. Indeed so rapid is the pace of this film that it almost requires repeated viewings to be able to fully appreciate the genius of the comic situations and dialogue.

To describle the plotline as being involved and complex is a definite understatement. Convoluted in an endearing way is the best way to describe it. It tells the story of young married couple Tom and Geraldine "Gerry" Jefferswho are struggling financially as Tom is an inventor who has difficulty in getting his original ideas to sell. Gerry being of a harder nature is fed up with being poor and when they are in danger of being evicted from their apartment Gerry decides to do the only thing that a girl like her knows; divorce Tom and find herself a rich husband who can keep her in the style she would like to become used to, while also helping Tom to obtain the financing for his new airport project. What develops from this point onwards adds up to one crazy comic situation after another. Gerry firstly encounters the unforgettable "Wienie King" (Robert Dudley in an absolutely scene stealing performance) an elderly gentleman who is hard of hearing and who gives Gerry a stack of money to get her out of her troubles because he likes her. Gerry heads for Palm Beach as that is "the second best place to get a divorce" according to the Taxi driver! What happens along the way is what classic comedies are made of as Gerry finds herself firstly "adapted" by the crazy members of a hunting club, the Ale and Quail Club that are travelling on the same train and who in a drunken state proceed to take over the train causing complete chaos for all concerned including the terrified barman who sees his whole workplace demolished around him. To escape them Gerry then slips into the sleeping compartment area where she then encounters John D. Hackensacker 111 (Rudy Vallee in a non crooner role) who just turns out to be one of the richest men in America and predictably falls instantly for Gerry. Once in Palm Beach pursued by an angry Tom Gerry is thrown into a whirlwind of deception and comic misunderstandings as she encounters the amazingly eccentric Countess Centimillia (Mary Astor in one of her most hilarious roles ever) John's man hungry, much married sister who takes an instant shine to Tom who is introduced to her as Gerry's brother Captain McGlue!! The comic goings one between the 4 main leads are a sight to behold and eventually end up with each person pairing off with the most suitable partner, Gerry with Tom, the Countess with Tom's identical brother and John with Gerry's twin sister!! Total madness indeed but so delightfully done that it almost takes on a logic of it's own!

Rarely have the cast here been in finer form. Under Sturges's sure direction each of them are outstanding. Claudette Colbert, a favourite actress of mine has rarely been better than here and she can say more with a sideways glance or a twinkle of her eyethan most actresses could do with 5 pages of dialogue. Her Geraldine is both calculating and refreshingly practical and cool headed in the bizzare situations she finds herself. Her scenes with the Ale and Quail club members are brilliant and real rib ticklers as her normally refined way of performing is put to the test with these loud and over the top performers. Joel McCrea has never been better than in his playing here as the harried husband who goes on a mad chase to reclaim his wife. His reactions to be dubbed "Captain McGlue" are priceless and his entanglement with the man hungry Countess who quickly earmarks him as her next husband will make you laugh out loud. Mary Astor, always an interesting actress literally steals the show as the Countess with her rapid hundred words to the minute type of delivery. Some of the most hilarious lines in the film belong to her and she delivers them with relish for example in a retort to Tom about the length of all her marriages she states "nothing is forever....except Roosevelt!!" In her memoirs Astor stated how she did not enjoy working for Preston Sturges in "The Palm Beach Story" and felt she never really got her characterisation right in this film. Interesting really as I think she has never been better than here and is the comic centre of the whole crazy proceedings with her playing. Rudy Vallee as the hapless millionaire is also a revelation in his playing of the fumbling man besotted with the much more world wise Geraldine. His different style of playing contrasts beautifully with the more over the top playing of Mary Astor. His scenes on the train with Colbert are classic where she continues to break his sets of glasses as he tries to give her a boost up into the top bunk of the sleeping compartment.

"The Palm Beach Story" is what classic screwball comedy is all about.The pace of the film is like a rocket and the one liners which hold many perceptive views on the rich and on our money consious society are a clever reflection of societies values at the time. Like all Sturges vechicles under the comic nonsense there is actually alot being said that can be applied to any age or time. Enjoy "The Palm Beach Story" and definately treat yourself to repeat viewings of this 1942 masterpiece as you will, like me, find new things to admire, laugh at, and reflect on with each visit. ... Read more

Description

A conniving father and daughter meet up with the heir to a brewery fortune-a wealthy but naïve snake enthusiast-and attempt to bamboozle him at a cruise ship card table. Their plan is quickly abandoned when the daughter falls in love with their prey. But when the heir gets wise to her gold-digging ways, she must plot to re-conquer his heart. One of Sturges' most clever and beloved romantic comedies, The Lady Eve balances broad slapstick and sophisticated sexiness with perfect grace. ... Read more

Reviews (41)

"Let us be crooked, but never common."
Preston Sturges' "The Lady Eve" is a romantic battle of the sexes done screwball style. Yet, to classify it solely as a romantic or screwball comedy would be a mistake. For "The Lady Eve" was a transition film set between the pure screwball comedies that preceded it and the more conventional romantic comedies that followed. It relied on pratfalls and misunderstandings like its predecessors but also added an additional level of wit and sophistication that downplayed the more juvenile aspects of the screwball genre.

"The Lady Eve" is about the complicated boy-meets-girl-boy-loses-girl-boy-meets-another-girl-who-turns-out-to-be-the-same-girl relationship between beer company heir Charles Pike (Henry Fonda) and crafty con artist Jean Harrington (Barbara Stanwyck). They first meet on a cruise ship where Jean pegs Charles as just another victim. However, she soon falls in love with him only to be tossed aside when Charles finds out about her true vocation. Jean bides her time, patiently waiting for an opportunity to exact revenge on the man who jilted her. The opportunity soon presents itself but Jean's romantic feelings get the best of her once more. After deciding to leave behind her fake Eve personage, she chooses true love over the con game and hooks up with Charles again.

Fonda is superb at playing the sincere but easily victimized Charles. Those familiar with him only through his dramatic roles will find that he can be just as home in a comedic part. Yet, it is Stanwyck who steals the show. At different points of the film, she is called upon to be vile, sweet, clever, or heartbroken, and she pulls off each new demand placed upon her effortlessly. Stanwyck remarkably manages to create a multi-dimensional character that you loathe and love at the same time. The supporting cast is also strong with Charles Coburn, Eugene Pallette, William Demarest all contributing winning performances. There's much to enjoy about "The Lady Eve" but perhaps the most important message to take away from it is that it is never good to have five aces in your hand.

_The_ Sturges Classic!!!
Wow. This film is a stunner. It is also one of the best romantic comedies of the 1940s, or of any era. As usual, Preston Sturges's dialogue and situations sparkle with humor and wit, while his direction keeps the action moving quickly. Both Barbara Stanwyck and Henry Fonda turn in perfect performances. There are also notable supporting turns by Charles Coburn, Eugene Pallette, and Eric Blore (all practiced character actors that shined in romantic comedy). Several Sturges regulars also appear, notably William Demarest.

Stanwyck plays a con artist, who, with her father (Coburn), tricks unwary passengers on cruise ships. She decides that Fonda, a rich man who is heir to Pike's Pale [ale] fortune, will be her next victim. They meet "cute," as is required in an old romantic comedy: Stanwyck purposefully trips Fonda and breaks her shoe, then forces Fonda to take her to her room to replace it. The following scene on the chaise loungue is a keeper. Soon Fonda is falling under Stanwyck's spell, while Coburn is stealing his money at cards. But Stanwyck also finds herself falling in love, as she is slowly won over by Fonda's innocence. She decides to reform and give Fonda back his money. But then Fonda finds out that Stanwyck is a known criminal, and breaks up with her. Determined to have her revenge on Fonda for dumping her, Stanwyck disguises herself as the wealthy English "Lady Eve" and goes to Fonda's house. There, she quickly seduces him, without Fonda ever recognizing her. Then things get even more complicated. Of course, certain events result with our hero and heroine finally understanding each other and finding happiness.

This film is a treat from beginning to end (I loved the opening credits with the animated snake--nice Adam and Eve reference). Well worth the money. Also recommended: Easy Living, Hail the Conquering Hero (both also Sturges), Ball of Fire (also with Stanwyck), anything by Lubitsch.

Never play cards with a card sharp

Director: Preston Sturges
Format: Black & White
Studio: Universal Studios
Video Release Date: August 4, 1998

Cast:

Barbara Stanwyck ... Jean Harrington/Lady Eve Sidwich
Henry Fonda ... Charles Pike ('Hopsie')
Charles Coburn ... 'Colonel' Harrington
Eugene Pallette ... Horace Pike
William Demarest ... Muggsy (Ambrose Murgatroyd)
Eric Blore ... Sir Alfred McGlennan Keith ('Pearlie')
Melville Cooper ... Gerald
Martha O'Driscoll ... Martha
Janet Beecher ... Janet Pike
Robert Greig ... Burrows
Dora Clement ... Gertrude
Luis Alberni ... Emile, Pike's chef
Harry Depp ... Man With Glasses on Boat
Robert Dudley ... Husband on Boat
Ray Flynn ... Lawyer
Kenneth Gibson ... Party Guest
Sam Ash ... Husband on Boat
Alfred Hall ... Party Guest
Eddie Hall ... Chauffeur
John Hartley ... Young Man on Boat
Arthur Hoyt ... Lawyer at Phone in Pike's Office
Arthur Stuart Hull ... Party Guest
Jack W. Johnston ... Lawyer
Harry A. Bailey ... Lawyer

Ambrose Barker ... Mac
Bertram Marburgh ... Party Guest
George Melford ... Party Guest
Torben Meyer ... Mr. Clink, Purser
Frank Moran ... Party Bartender
Joseph North ... Second Butler at Party
Wilson Benge ... First Butler at Party
Victor Potel ... Second Steward
Jack Richardson ... Father of Girl on Board
Cyril Ring ... Husband on Boat
Abdullah Abbas ... Man With Potted Palm
Harry Rosenthal ... Piano Tuner
Reginald Sheffield ... Professor Jones
Norman Ainsley ... Sir Alfred's Servant
Julius Tannen ... Lawyer
Walter Walker ... Sparky
Robert Warwick ... Passenger
Pat West ... Ship's Bartender
Gayne Whitman ... Party Guest
Al Bridge ... First Steward
Jimmy Conlin ... Third Steward
Wanda McKay ... Daughter on Boat
Esther Michelson ... Wife on Boat
Ella Neal ... Daughter on Boat
Barbara Pepper ... Lady Wrestler Type
Jean Phillips ... Sweetie
Wilda Bennett ... Party Guest
Evelyn Beresford ... Party Guest
Frances Raymond ... Old Lady on Boat
Marcelle Christopher ... Daughter on Boat
Georgie Cooper ... Party Guest
Nell Craig ... Boat Passenger at Railing
Eva Dennison ... Mother on Boat
Helen Dickson ... Mother on Boat
Pauline Drake ... Social Secretary
Betty Farrington ... Mother on Boat
Bess Flowers ... Party Guest
Almeda Fowler ... Mother on Boat

A trio of card sharps on a cruise ship tries to take a rich man's son, Charles Pike (Henry Fonda) at cards. Unfortunately for both of them, Pike falls for Jean Harrington (Barbara Stanwyck), and she him. Also unfortunately, her background as a card cheat comes out and puts the kibosh on the romance.

The story develops from there.

This is a good story, ccompetently acted and directed, and very entertaining.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

Best American Laugher
I saw bits and pieces of The Lady Eve on Turner occasionally and never watched long enough to have an opinion one way or the other. I enjoyed Preston Sturges, Sullivan's Travels and realize he's one of the greats of American film comedy, so I rented The Lady Eve on a friend's recommendation. I enjoyed young handsome Henry Fonda and particularly Barbara Stanwyck. Barbara Stanwyck is not a favorite actress of mine. Maybe it's her brassy delivery and non-leading lady face, but I've changed my mind. Barbara is without a doubt the equal of Claudette Colbert or Carole Lombard in screwball comedy. She might be better. There is a burning intensity, a wistfulness in her delivery of: "Sometimes a good girl can be bad and a bad girl can be good." Fonda has been in the Amazon for a year and on a ship home he runs into a family of card sharks. Barbara traps him, he trips, falls, lands on his ass, and holds her stocking foot. Then they fall in love in some of the most romantic photography of a beautiful couple ever shot. The farce goes on to its final brilliance. There is one pratfall that made me laugh out loud for five minutes. Preston Sturgis is one of the best five directors in all of film.

a very nice film with nice extras
This review is for the Criterion Collection DVD edition of the film.

This movie starring Barbara Stanwyck and Henry Fonda remains a classic to this day.

In this film, a woman and her father meet the heir to a brewery company on a cruise ship and attempt to sucker him at a card table. The daughter soon falls in love with their would-be victim. He later learns of her plan and she tries to win his heart. The movie has much slapstick humor in it and is comparable to the kind seen in the Three Stooges shorts.

The film was also selected by the Library of Congress for the highly coveted National Film Registry and Preservation Board.

The Criterion DVD has many special features including a theatrical trailer, a large number of publicity photos and stills, costume design sketches and other ephemera generously shared by director Preston Sturges' family . There is also a video introduction by writer Peter Bogdanovich and audio commentary by scholar Marion Keane. As a bonus there is the unabridged Lux Radio Theater audio drama adaptation of the film presented by Cecil B. De Mille.

This is truly a classic of American cinema. ... Read more

Description

This masterpiece by Preston Sturges is perhaps the finest movie-about-a-movie ever made. Hollywood director Joel McCrea, tired of churning out lightweight comedies, decides to make O Brother, Where Art Thou-a serious, socially responsible film about human suffering. After his producers point out that he knows nothing of hardship, he hits the road as a hobo. He finds the lovely Veronica Lake-and more trouble than he ever dreamed of. ... Read more

Reviews (47)

The Original Oh Brother Where Art Thou
This is a wonderful movie about a successful comedy director setting out to find trouble in order to film his next project a serious movie about the Depression called Oh Brother Where Art Thou. Early in the film the studio owners try to disuade Sullivan from the movie and suggest making it into a musical; a suggestion which the Coen brothers took over 50 years later.

Initially Sullivan cannot escape his entourage which comes to include the beautiful and witty Veronica Lake. Later however life becomes more vivid for the restless director and his lesson is learned.

The film is divided into two distinct parts as many people have commented on. While some have said this makes the movie uneven I think that it moves the movie well beyond a simple romantic comedy giving it a complexity and color you don't expect.

The movie is brilliantly written by Preston Sturges. Watch it once for the sheer joy of it but watch it again to experience a brilliance of dialogue that few have been able to accomplish since.

Being a Criterion production the presentation is excellent and it has many extras that we have come to expect and appreciate from this company.

A MOVIE THAT COMBINES COMEDY AND DRAMA.
"Sullivan's Travels" tells the story of director John L. Sullivan (Joel McCrea), who is very famous thanks to his mainstream comedy movies. But now he is tired of making shallow comedies, and decides to start a career of more serious movies. However, Sullivan thinks that because during all his life he has enjoyed special privileges, he doesn't actually know what is the suffering, and he is unable of make a serious social statement in his upcoming film.

So he now decides to hit the road, disguised as a tramp, and live in those conditions for a few months, and to experiment in his own flesh the lack of luxuries. In the road he meets "The Girl" (Veronica Lake), an unemployed actress who knows what is to live in those conditions, so now she decides to help him with his experiment. However, not everything is going to be that easy, because in their adventure they are going to find several obstacles that could make difficult to complete Sullivan's movie.

"Sullivan's Travels" is a very amusing movie, the director Preston Sturges did a good job, he created scenes where the comedy and the drama are mixed together with satisfying results. The movie has interesting situations, because it has an intelligent story and good performances. Also, "Sullivan's Travels" benefits with the presence of the elegant Veronica Lake

A Review for Sullivan's Travels
Directed by Preston Sturges in 1941, this classic screwball comedy with a message is definitely one worth watching. The film opens with famous Hollywood director, John Sullivan, trying to persuade his bosses to let him make a picture about poverty, O Brother, Where Are Thou? His producers proceed to ridicule him about being privileged and that he knows nothing about troubles. They tell him how they had to grow up selling newspapers to get through college and having to support a widowed mother and three sisters and two brothers. Sullivan realizes they have a point and decides to set out to find some trouble. Of course, as soon as Sullivan leaves the office, the bosses confess they were lying about their troubles, adding a bit of comic relief.

Since the bosses feel it would be a liability to them if Sullivan were to travel all alone, they arrange for him to have an entourage following him, writing stories about his travels, and photographing his escapades. Sullivan starts out like a hobo walking alone on the side of the road. A young boy of 13 pulls up and offers him a ride. What next ensues is perhaps the funniest scene in the entire movie. The 13 year old wants to be a tank driver so he sets off like mad, driving insanely fast and wildly out of control. The entourage that has been following Sullivan in a massive bus tries desperately to keep up, hurdling its occupants all over the place. Most funny is the cook who ends up with his head sticking out of the roof of the bus and then falls back down to the floor and gets smacked on the head by the door of the oven. Then a bowl of what appears to be pancake batter falls on his head and he is a royal mess.

After the bus plows into a pile of hay, Sullivan orders the 13 year old hooligan to stop and goes back to his entourage and persuades them that their following him is not a good idea. He advises they just go to Las Vegas and wait for him there. Not crazy enough to turn down a work-free vacation, they agree and each party sets off on their own.

Sullivan next ventures into a small café where he meets a nameless girl, played by Veronica Lake. She has been trying to make a go at it as an actress, but has given up and has plans to head back home. Seeing Sullivan's misfortunes, she offers to buy him some ham and eggs. Sullivan immediately takes a liking to her and offers to give her a lift back home. Still in Hollywood, he goes and gets his own car to drive her there. The police, seeing a hobo driving a nice car, believe he has stolen it and so both Sullivan and his female companion get arrested. Well, they eventually get released when the police realize their error. Sullivan then fesses up to the lovely Veronica, and tells her his plan of finding trouble.

She decides to join him on his journey. They plan to travel east and eventually take her back home. However, Sullivan must first have his butler call the railroad to find out how hobos board trains, another moment of comedic levity. After an awkward boarding of the train, Sullivan and the girl fall asleep in a pig stall. Sullivan gets some sort of allergic reaction to the hay and so when they wake up, they decide to get off the train. They wander into another café where they realize they are now in Las Vegas and Sullivan's entourage is just across the road. Hungry and wear worn, Sullivan goes back to the entourage where his doctor mandates that he stay in bed for three day to get better.

Back on the road again, scenes fly by as Sullivan and his girl mingle with the down and out. He eventually returns to his entourage and is prepared to start production on O Brother, Where Art Thou? but he decides to give one last thank you to his street companions in the form of five dollar bills. As he is handing out bills late one night, he is knocked out, robbed, and thrown onto a train car. As the robber is running off with the money, he accidentally stumbles and drops the money on the train tracks. As he is picking up the money, he gets run over by a train and dies. The people who find his body see some of Sullivan's belongings on him and mistake him for Sullivan. Word circles around the film community that Sullivan met his death mysteriously one night on the train tracks.

Meanwhile, Sullivan's train stops and he gets out where he is confronted by a railroad worker who hits him for hitching a ride on the train. Sullivan retaliates by bashing a rock against the workers face a couple times. For this misdeed, Sullivan is sentenced to six years of hard labor. He is not allowed to make any phone calls or write any letters to let anyone know he is still alive, as he has already seen newspaper pronouncements about his fate. He comes up with a scheme to get his pictures in the papers by confessing to the murder of himself. Of course, the mistake is quickly realized and he is back in Hollywood set to make the picture which has caused him so much trouble.

However, in a twist, Sullivan decides not to make O Brother, Where Art Thou? and instead he wants to continue making comedies. For, when he was in the labor camp, the one moment of happiness he and his fellow prisoners experienced was one night when they got to go to a picture show and watch a Mickey Mouse cartoon. He decides comedy is important because, for some people, it's all they've got.

"Sullivan's Travels" - A Life Changing Experience
Oh, this film is grand! First viewed it at about age 16, formative years & all. Made a great impact. Convinced me to pack off & live life as a hobo. Ah, the rootless life! Between "Sullivan's Travels", "Lust For Life" and Hermann Hesse novels, my character was set. Ah, youth! Oh, brother, where art thou?

One of my all time favorite films
One of the great screen comedies, and one in a string of absolutely brilliant comedies that Preston Sturges made in the space of only a few years, unquestionably the hottest streak any comedy director has ever gone on in a short period of time. This film contains a great deal more slapstick than his other films, and a great deal more social satire. Sturges doesn't quite mean it as a "message" picture, but in the end it does have overtones of an apologia pro vita sua as a comedy director. Sturges wants to say that he is a comedy director, and he isn't going to apologize for it, because making people laugh in hard times is one of the highest functions of art.

SULLIVAN'S TRAVELS is one of two superb comedies that Joel McCrea made with Sturges, the other being the equally outstanding THE PALM BEACH STORY. As most are aware, McCrea plays director John L. Sullivan, who has made his mark in Hollywood directing lightweight comedies, such as the "Ants in Your Pants" series. But now he wants to make a serious, "meaningful" film: O Brother! Where Art Thou? The studio head points out that Sullivan knows nothing about real life, and conceding his point without giving up his intentions, Sullivan decides to hit the road and live as a hobo in order to discover real life.

Like nearly all Sturges films (at least before his rapid and dramatic decline in late 1944), this film features an absolutely outstanding cast. His best films seem to feature a cast with literally dozens of great character actors, and this is no exception. Most of the Sturges regulars are here, like William Demarest and Robert Warwick, along with a host of others whose faces will be familiar to any Sturges fan, even if the names are not. The film also features the first major role for Veronica Lake, who enjoyed only a short career at the top, but who endures in memory as one of most stunningly beautiful women in Hollywood history, so much an icon that in L.A. CONFIDENTIAL, Kim Basinger's character was a prostitute who would be with men impersonating Veronica Lake.

Most Sturges films are characterized by their rapid-fire dialog, manic pace, and enormous wit. He always wrote his own scripts, and as good as he could be as a director, he was much better as a writer. For several years before becoming a director, he distinguished himself along with Billy Wilder as perhaps the premier comic writer in Hollywood. This film contains moments that are classic Sturges. For instance, while arguing with the head of the studio about his next film, his boss makes the point that his last escapist film did well in Pittsburgh. Sullivan retorts: "What do they know in Pittsburgh." Studio Head: "They know what they like." Sullivan: "Then what are they doing in Pittsburgh." But in this film, unlike his others, Sturges dramatically slows down the pace at several points, and allows the film to take a much more serious turn, so as to make his central points about the value of making people laugh. ... Read more

Reviews (9)

Just Picture A Pent-House Way Up In The Sky!
It's hard for me to say who's films I enjoy more Preston Sturges or Ernst Lubitsch, both to me are masters of the sophisticated comedies. It's like asking someone who do you like more Chaplin or Keaton, both are so good you'd hate to chose one or the other. But of all the Sturges films I've seen I have to admit "Christmas in July" I think is his weakest. If judge purely on it's own merits it's a fine lighthearted enjoyable comedy. But when you consider the other films Preston Sturges made, "Christmas in July" doesn't hold up as well. It doesn't seem to have the bite movies such as "The Great McGinty" (Sturges' first film as dirctor), or "The Palm Beach Story" and my favorite "Unfaithfully Yours" had. It seems as if Sturges missed a few marks with this one. I didn't laugh as much as I usually do when watching one of his films. Though there is one great scene dealing with Powell after he thinks he won a contest and goes to the office of Dr. Maxford (Raymond Walburn). That scene made me laugh. And I promise not to give it away.

"Christmas in July" has Jimmy MacDonald (Dick Powell, this was at the time Powell wanted to break away from the musicals) as a poor but in love young man trying to make it big. Currently he has tried out in a contest created by Dr.Maxford (Walburn) who is looking for a new slogan for his coffee. Jimmy has entered in many contest before and naturally has lost them all. But, the way he figures it, one of these days he's bound to win one. So he and his sweetheart, Betty (Ellen Drew) hope for the best. If Jimmy wins they can finally get married. But everything will not work out so fine.

While at work some co-workers over-hear the news of Jimmy entering the contest and they decide to have a little fun at his expense. They tell him he's won the contest and a prize of $25,000!

Sturges' comedy starts to take off at this point, but I just can't help but feel the movie leaves much to be desired. And I only say this because I've truly enjoyed Sturges' past films. But this one is just not quite up to par with the rest of them. If you've never seen a Preston Sturges comedy, please do not start here.

So is there anything good to say about this movie? Yes. As I said before it is a cute old-fashioned comedy that has one of those happy endings we've come to expect from Hollywood. It does have a few funny scenes and is a harmless silly comedy. I would only suggest that fans of Sturges watch this one.

Bottom-line: One of Preston Sturges weaker comedies. Not to say this is a bad movie. Has a few bright spots but doesn't live up to Struges' other films such as "Unfaithfully Yours", "The Palm Beach Story" & "The Lady Eve".

A splendiferous gem.
"Christmas in July" is among the finest and yet unappreciated comedies of Hollywood's golden age. Dick Powell, a newcomer at Paramount studios, portrays Jimmy MacDonald who has entered a coffee company's slogan contest with the grand prize being $25,000. Some of his co-workers play a joke on him with a fake telegram. Jimmy and his fiance, Betty Casey (Ellen Drew) become excited as Jimmy is thought by his boss as being such a genius at writing slogans that Jimmy gets his own office and Betty is his private secretary. After they pick up the check (surprising to Dr. Maxford of Maxford House Coffee who doesn't know of anybody selected), they go on a shopping spree buying something for everybody in their neighborhood. Probably the only reason for the film's title is because Ellen Drew gives the line "It's like Christmas, in July." When Dr. Maxford finds out nobody was selected and the check was supposedly fake, Shindel Bros., the department store of which they went on a spree, starts to take everything back until the pompous Dr. Maxford steps in. Shindel is convinced when the townspeople take Jimmy's side and not Dr. Maxford's. Later, as they view Jimmy's new office, his boss is still impressed with his slogan-writing ability until when he hears Jimmy didn't really win and it was a joke. His boss goes into a fury, but Betty takes Jimmy's side by saying that he belongs in his own office becuase he thinks he has ideas and gives a short speech to him. In Maxford House, Dr. Maxford gets into a huge fit when he is distressed at the contest and that his workers have finally selected a winner. Guess who? Quite likely, the cycle will start again. Amazing film, and quite amazing what you can fit in a short 67 minute film.

A comic gem from Sturges.
One of Preston Sturges' best but least known films stars Dick Powell as an ordinary guy who becomes the victim of a prank and thinks he has won a slogan-writing contest. Altho the events are fairly predictable, this does not detract from the laughs. As with all Sturges films, plenty of fine old character actors (including, as always, William Demarest) are on hand. Why doesn't anyone make 67 minute movies anymore?

Not a masterpiece
This film combines a rather dull, predictable and contrived plot with inconsistent characters. William Demerest plays a minor role in the movie, but "Uncle Charlie" is by far its highlight. A couple of slapstick scenes including a fishfight (yes, a fishfight) prevent the movie from having no redeeming aspects. Potential purchasers, beware! This is not a Christmas movie. Set in July, it takes its title from one line in the movie. Not worth the price of admission or even rental.

IF YOU'RE A PRESTON STURGES FAN
then you'll enjoy this VHS. It's typical Sturges. Very predictable but enjoyable, nothing spectacular, though. ... Read more

Reviews (4)

Saw this after Hail the Conquering Hero & immediately
saw where the pattern of Sturges movies began. Take a good solid concept, in this case, political corruption, write a good script around it & satirizes. This formula can work for a long time if you don't take it too seriously & become preachy. Stuges doesn't, he makes it entertaining & funny in the style of its time. Briefly, in this case a bum, literally, thru cunning, intrique, shady dealings, & the help of stupid politicians rises to the heights of political power. It's your rags to riches to rags story. Some of the slapstick shtick is just silly, so I give it 31/2 stars instead of four.

As fine an opening 30 minutes as you are ever going to see.
But after that I think that 'McGinty' is a nice film, well done, but certainly not as richly written as 'Hail the Conquering Hero' and others.

The lead female character is lacking in chrisma and spark, and the film feels that it is groping along to a nice, funny little ending.

But, I do love two shots in this movie, one is where McGinty is calling on a 'Interior Decorator' (a lug) to get him to pay some protection money, he rings the bell and Sturges cuts to him as seen from the inside of the glass door, its just a cool little shot.

The second is the shot from the interior of a moving call as McGinty exchanges punches with the Boss in the backseat as the car rolls up to a Hotel. A interior shot from the insider of a real moving car was very rare in those days. You can see that Sturgis was just full of little ideas of camera placement in this film.

Preston Sturges' directorial debut
After writing several sucessful Hollywood scripts, hotshot Preston Sturges took his first crack at directing, in this crisp, typically cynical, intelligent 1940 debut. The Great McGinty is one Dan McGinty, a down-and-out, yet tough-as-nails tramp who finds opportunity handed to him on a silver platter when a the boss of a big political machine sees McGinty's potential, and taps him to be one of his many henchmen in a statewide graft ring. Affable, savvy, and ruthlessly ambitious, McGinty rises to the top, eventually riding into the governor's office on a hypocritically-fashioned "reform" ticket. Naturally, a woman softens him up, and brings his downfall. As usual, it's difficult not to compare Sturges with the equally populist director, Frank Capra, especially as the plot of this film closely mirrors that of Capra's "Meet John Joe," and other Capra films. How do they stack up? Well, Sturges's story is in certain regards darker, in others less harrowing. His bum-made-reformed-conman starts way more corrupt, and never really softenss to the degree a Capra hero would... He finds his moral center, but not his actual salvation, and the film doesn't have what you'd exactly call a "happy ending," at least not for the hero himself. Other elements are similar, though, particularly in the skillful use of supporting character actors. Particularly appealling here are Akim Tamiroff as the political boss and William Demarest as the stooge who first recruits McGinty. Brian Donlevy, as McGinty, is adequate, but hardly as appealing as some of the actors Sturges would work with later on. Still, a nice example of the Sturges formula at work.

Looks like the suit got YOU!
Stunned to see no reviews for this brilliantly funny movie. The conventional wisdom on McGINTY is that it's lesser Sturges, more important as his directorial debut (one he did for next to nothing just to get the shot) than as a standalone comedy. Pish and tosh. This is a supremely satisfying comedy and had it been Sturges' only directing credit, would still mark him as a filmmaker to remember. (And, no, that's not a subtle swipe at his others, merely a defense of this too-often overlooked movie.)Maybe the best asset of McGINTY is its budget constraint, which steered Sturges towards the 'ensemble' casting which would become one of his hallmarks. The movie is filled stem to stern with sharp-eyed turns by primarily supporting players (including the leads, Donlevy & Tamiroff, who are excellent). What I can't help but notice is how the Sturges films of the 40s are really the last gasp of the great breakneck comedies of the pre-Code 30s, just prior to the 'screwball' era, when Hollywood was still allowed to poke fun at people/institutions/conventions of the Real World. In fact, McGINTY -with only minor casting changes- would have fit right in with the Warner Bros/First National bumper crop of fast, cynical comedies of '31-'34. (And, by the way, Tamiroff's cheerfully corrupt and malapropping Boss would be paid hilarious homage 20+ years later in animation form as Boris Badinov in Jay Ward's ROCKY & BULLWINKLE cartoons.) The love interest of Muriel Angelus, and adjoining subplot, may come off a bit treacly, but Sturges was canny enough to make this studio-mandated mawkishness an integral part of the plot...even as early as 1940, he was subverting True Love to his devilishly satiric purposes! So stop nitpicking and thoroughly enjoy one of the great American comedies, brought to unforgettable life by that great if unrecognized repertory company, The Sturges Players (featuring, among others, Wm Demarest, Thurston Hall & Arthur Hoyt). ... Read more